- Joined
- Feb 25, 2014
Here's part 2 of the interview I posted yesterday.
Part 2: Why do I love the book Byakuyako?
The other program Machida created based on literature is "Byakuyako”. It is based on a masterpiece by award winning mystery writer Keigo Higashino. Machida has read almost every novel written by Higashino but "Byakuyako” is special to him.
"I empathize with Ryoji Kirihara, the main character of the novel. He acts like an evil person but the motivation behind his actions is pure. There is a big conflict within him and I think as long as we’re living on earth we all have a conflict within ourselves. I have conflicts too. I’m always thinking 'for how long should I continue my competitive career’ or 'what should I choose as my second career’. Maybe that is why I’m attracted to stories like this. It’s the first program I choreographed myself and the theme for it was 'self sacrifice; evil but pure’ and I tried to express the character Ryoji Kirihara as much as I could.”
This story about conflicts is at the same time the tragedy of a person who’s lost one’s heart. East Of Eden is also the story of someone who grasps the beam of light after going through tragedy. Why is Machida always attracted to tragedies?
"I don’t think I’m tragic or that my life is tragic, but I see myself as someone suited to perform tragedies. There’s a novel called 'No Longer Human’ by Osamu Dazai and in this novel the leading character does word play with his friend. They divide words into two groups, tragic nouns and comedic nouns. For example a steam boat and a train are tragic nouns but tram and bus are comedic nouns. Tobacco is also a tragic noun. Following this I think Tatsuki Machida is a tragic noun, not a comedic noun. Besides, tragedy leaves marks for longer than comedy does, both in a positive and negative way.”
Machida performed the short program which he calls "the masterpiece of his career” at the last World Championship. In an interview after that, he said that the artist and the athlete in him were fighting each other. How did this conflict work out?
"There are skaters who think jumps are most important for them but I’m mostly aiming for the artistic side. But last season I knew I had to start winning if I wanted to make it to the Olympics and for that I needed quads. I was afraid of putting quads in the program because I thought they might have spoiled the artistry, but I realized that if I improved my jumps to the extreme, they would become part of the artistry. Maybe my perfect 4T-3T was one of the reasons why the audience at the World Championship was so impressed with my program. I think improving as an athlete is a big part of the process of becoming an artist – because I can’t call myself an artist at the moment.
"I don’t separate technique from artistry anymore. From now on I will be skating with the desire to show my art to the audience, not to win medals. But I will still be counting on quads because if I want artistry in my programs, I also need technical strength. Just like everyone else I have my conflicts about doing figure skating but I only came so far because of the support of a lot of wonderful people and a lot of wonderful books.”
Part 2: Why do I love the book Byakuyako?
The other program Machida created based on literature is "Byakuyako”. It is based on a masterpiece by award winning mystery writer Keigo Higashino. Machida has read almost every novel written by Higashino but "Byakuyako” is special to him.
"I empathize with Ryoji Kirihara, the main character of the novel. He acts like an evil person but the motivation behind his actions is pure. There is a big conflict within him and I think as long as we’re living on earth we all have a conflict within ourselves. I have conflicts too. I’m always thinking 'for how long should I continue my competitive career’ or 'what should I choose as my second career’. Maybe that is why I’m attracted to stories like this. It’s the first program I choreographed myself and the theme for it was 'self sacrifice; evil but pure’ and I tried to express the character Ryoji Kirihara as much as I could.”
This story about conflicts is at the same time the tragedy of a person who’s lost one’s heart. East Of Eden is also the story of someone who grasps the beam of light after going through tragedy. Why is Machida always attracted to tragedies?
"I don’t think I’m tragic or that my life is tragic, but I see myself as someone suited to perform tragedies. There’s a novel called 'No Longer Human’ by Osamu Dazai and in this novel the leading character does word play with his friend. They divide words into two groups, tragic nouns and comedic nouns. For example a steam boat and a train are tragic nouns but tram and bus are comedic nouns. Tobacco is also a tragic noun. Following this I think Tatsuki Machida is a tragic noun, not a comedic noun. Besides, tragedy leaves marks for longer than comedy does, both in a positive and negative way.”
Machida performed the short program which he calls "the masterpiece of his career” at the last World Championship. In an interview after that, he said that the artist and the athlete in him were fighting each other. How did this conflict work out?
"There are skaters who think jumps are most important for them but I’m mostly aiming for the artistic side. But last season I knew I had to start winning if I wanted to make it to the Olympics and for that I needed quads. I was afraid of putting quads in the program because I thought they might have spoiled the artistry, but I realized that if I improved my jumps to the extreme, they would become part of the artistry. Maybe my perfect 4T-3T was one of the reasons why the audience at the World Championship was so impressed with my program. I think improving as an athlete is a big part of the process of becoming an artist – because I can’t call myself an artist at the moment.
"I don’t separate technique from artistry anymore. From now on I will be skating with the desire to show my art to the audience, not to win medals. But I will still be counting on quads because if I want artistry in my programs, I also need technical strength. Just like everyone else I have my conflicts about doing figure skating but I only came so far because of the support of a lot of wonderful people and a lot of wonderful books.”
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In comparison, Tatsuki always worked hard to medal in the GP to gain reputation and build momentum for Nationals. Last season he skated 2 perfect programs at Nationals just to break through the wall of his team mates and then made mistakes at the Olympics. It's times like this when I wonder if his career would have been different had he not belonged to a country where the field was always so deep. Maybe he would have gotten the coaching team he needed sooner, maybe he wouldn't have struggled with money, maybe Nationals wouldn't have been this unbreakable wall. A lot of maybes.
The overall placement at Nationals would not be changed; yes, because Tatsuki was meltdown in FS and the JFU seemed not to want Tatsuki to beat Hanyu (Worlds 2014, SP at GPF are good examples) but I still don't understand Tatsuki's SP received so much lower scores than at SA. I think that was one of the reasons that Tatsuki decided to retire prematurely and lost his motivation to proceed even though he said many times that he dreamed of completing his Beethoven No. 9. Even though Tatsuki is retired, I'm not inclined to root any skater who always gets special treatments over other hardworking skaters. I'm no fan of Murakami and Mura, but I hope they break through the thick glass ceiling.
Yes he got some generous GOEs too but who says small jumps can only get 0 or -GOE? There are other factors that contribute to +GOEs, such as difficult entries, good flowing edge on the landing, etc. Nathan Chen is another junior skater whose small jumps get +GOEs.
and I don't believe conversations dissecting and complaining about the overscoring of other skaters (regardless if true or not 